Hello everyone. I recently finished the main campaign of AC4 (and a good chunk of the optional content). I was thinking of platinumming this game but I didn't want to deal with the multiplayer trophies. So this is a review of the singleplayer side.
Coming off playing Odyssey that removed a lot of the parkour and social stealth elements the series was known for, it was always refreshing whenever I explored the main cities of Havana and Kingston. The atmosphere and design of these cities was really cool. Their mix of architecture and layouts also made it fun to parkour and wall eject. I really missed this feeling from the latest Assassin's Creeds. I even found enjoyment in some of the tailing missions somehow (at least at first). Normally, I was never fond of these missions but just being able to sneak along rooftops and blend in crowds, even if not the most deep, still felt cool and "like I was an Assassin". Which is ironic given Edward isn't an official Assassin and is even working against the Assassins for most of the game lol.
I like that AC4 retains many of the improvements AC3 made with the Anvil Next Engine to the core gameplay and movement. I like that you can retain your momentum and movement when performing actions like Assassinations. Allowing you to keep moving seamlessly after killing your targets. I like that you can climb trees and alternate between them and buildings mostly seamlessly. I also like you have vaulting moves you can use to quickly leap over or under certain obstacles. I will complain I feel the parkour controls themselves could use a bit of work. In these set of AC games, holding R2 will make your protagonist both run, jump, climb and swing depending on context. While holding R2+X will also make them more likely to do unsafe jumps and leap of faiths. R2+O will make them try to drop. This sounds a bit like a precursor to Unity's really nice Parkour Up/Parkour Down system. But in practise, it is a bit unwieldy. Since many of the functions overlap in regular R2 and R2+X, you are often at the mercy of the automatic systems. There are times you will climb, jump or drop when you meant to run. Or you will drop low when you meant to jump farther on. Unity's later system works better because the 3 modes (R2, R2+x and R2+O) are a bit more specialized and you can better tap X or O to better communicate your intentions. Still, at least the actual speed and flow of AC3-Rogue's base parkour system is a bit of step up from AC1-Rev (the animations I feel are slightly worse to accomplish this though) and the fact you can manually side eject gives the parkour a nice bit of depth as you can use it to reach higher places quicker or without needing to find an alternate route around.
I like that AC4 incorporates the entire weapon wheel into the D-Pad. And this feature would carry over into most of the later AC games. In past ACs, you only had quick access to 4 weapons/tools at any given time out of a max of 10-15 (depending on the game). Swapping between them required holding down R1 to bring up a weapon wheel that paused the game and using the left and right sticks to select the weapons/tools you want. In some games like AC2-Rev, this process wasn't bad. It was quick to hold R1, select the stuff you want and get back into the game without much interruption. Some games like vanilla AC3 messed this up. In that game, even pressing R1 lightly completely interrupts the experience as the game transitions away to a different menu entirely, sometimes even taking time to load said menu. Then giving you the weapon wheel there. And if you only pressed R1 instead of holding it, the menu would go away and make you repeat the process. It was such a chore and step back from AC2-Rev's implementation.
AC4's approach is that now all your weapons and tools are on the D-pad. Pressing up once gives you the hidden blades. Pressing down once gives you the swords. Pressing Down twice gives you fists. Pressing left once gives you the pistol. Left twice gives you smoke bombs. Right gives you your darts. And so on. This system gives you all your weapons and tools without the need of a dedicated weapon wheel and keeps you in the game. You can even do crazy stuff like cycle between your equipped weapons while doing stuff like running and climbing without it interrupting the experience. It's great. AC4 uses the now freed up R1 button to.....display the list of collectibles in the immediate area? I mean, that's nice and all but it doesn't use the free-ed up button to allow more on-foot gameplay options. Unity used R1 to allow you to use additional tools like the smoke bombs alongside L1 for stuff like guns. Origins onwards used R1 as an additional attack button.
Despite being made to run on PS3/360, the game is still technically very impressive. Stuff like being able to dock your ship and get off to explore a small port down, start a mission and have that mission involve a naval chase to get back on your ship and begin a ship battle in a massive storm with the waves being all dynamic and there being mini hurricanes all without load screens is really cool. The game looked rad on the PS3 when I first played it back in 2013 and still looks rad on the PS4.
I also like many of the new tools and abilities Edward has in the game and feel they balance some of its systems a lot better. For example, Edward's 2 new tools here are the blowpipe that fires sleep darts and the blowpipe that fires berserk darts. And I like the execution here. In past AC games, there was often this issue of balancing ranged tools for stealth. In AC2 for example, you had throwing knifes which were silent and killed weak enemies instantly but barely touched tougher enemies. And you had the hidden gun which took some time to aim and reload and was loud but would instakill enemies. But the issue here is that in missions that required you to be undetected, often both these tools were useless as throwing knifes couldn't do enough damage or distract enemies. While the gun would alert everyone. Brotherhood added in the Crossbow and Dart Gun which just became overpowered as they were silent and killed most enemies quickly.
AC4's blowpipe mixes up this dynamic. The sleep dart is silent and has decent range and puts an enemy to sleep for a short time. You can use it to temporarily incapacitate a troublesome enemy like a gunner who'd otherwise spot you but then have to move quickly to take advantage of that opportunity. Either to sneak past or get close enough to the enemy to KO them. You still have the guns for loud and immediate damage. So AC4 comes the closest to getting the balance between risk/reward and choice right. I do wish there were a bit more of a challenge to using the blowpipe though. Similar to the Metal Gear Solid games, if you do a headshot, then it's an instant sleep. A single body shot kicks in after a while. And multiple body shots may take up a lot more ammo but will speed up the process. And there could be upgrades for range and effectiveness of the darts. Because as it currently is, the sleep darts start out being balanced by their low ammo count so you have to use them sparingly but with pouch upgrades start becoming overpowered.
I will complain that the overall combat and stealth mechanics of AC4 are quite lacking, both for the time in 2013 as games like the Arkham games had much more satisfying and fleshed out combat and stealth, and now especially in 2023 as future AC games like Unity and Odyssey have really improved these aspects. AC4's combat and stealth do still look cool. The animations for the various counterattacks and takedowns are neat. But the actual gameplay with them does start feeling stale. For combat, it's extremely easy to press O to initiate a counter, even while attacking enemies making most encounters rarely challenging as you can chain kill/counter kill through entire groups of enemies. The game does try to mix it up with different enemy types that can't be immediately countered or chain attacked, but it's simple enough to then press X to break defence them or shoot with a gun or incapacitate them all with a smoke bomb. So just like in past ACs, it's often faster and easier to fight through areas rather than stealth through them.
And like its predecessors, stealth in AC4 isn't amazing. There's no manual crouch or dedicated stealth mode making it awkward to sneak through areas. There aren't many tools for distraction which can slow down stealth encounters. AC4 does make steps forward with more bushes to hide in, the ability to whistle from more places to attract nearby enemies, the aforementioned sleep darts, Eagle Vision being able to tag enemies through walls and the premise of combining parkour/climbing to navigate around large forts or similar areas is cool. But it's not until Unity when all these aspects would finally come together and make stealth in AC both fun and necessary/useful.
AC4 also has its own take on the "Brotherhood/Trading/Mother Base" system. And I'm not too fond of it. It's simultaneously too involving yet too boring. I like the idea of it. The ships you capture can be sent to Edward's fleet where they can be sent on trading missions. Different ships have different stats which can affect their success, timings and actions. Trading routes can be made less dangerous by engaging in automated turn based battles.
There are a few issues with this. Lets bring up AC Brotherhood's system first. In that game, you just select the individual unit(s) you want, the task you want to send them to and just send them. It's quick and easy. And it makes nice passive income. You can access the menus from these pigeon coops scattered all over the map so it's not too out of your way.
In contrast, AC4 has these long elaborate but still basic turn based ship battles you can't fast forward which get boring. On top of that, you can "re-enter" these battles to reroll your opponents so you can never lose. There's no stress or tension here and very little stragedy. On top of that the money and resources gained from these aren't great. The long 10 hours of real time missions reward the same kind of money as capturing a couple brigs and frigates as Edward. The resources are exclusive to this minigame so you can't even give yourself the metal and wood you win from these. And you can only access this from Edward's cabin on his ship. If you could fast forward battles, get more actual resources from missions and could access it from the pause menu or something like in AC3, then this would be a nice system.
Now for the section that might be the hottest take of this piece. I didn't enjoy the pirate gameplay in AC4. Which is odd given that is like 60% of the game and the reason why many people love this game.
The pirate and ship gameplay isn't bad. It is cool to sail around. And it is improved from AC3's sailing as you have more options and weapons, boarding is more dynamic and the strategies of positioning your ship in front of or behind ships or using waves as cover is neat.
But I found it rather repetitive and boring. After a few hours of taking ships, it stagnates. Capturing a ship requires you kill the crew or do the things the same way every time. There aren't new tactics or options. And the slow paced nature of certain animations like boarding end up feeling like a drag. At least Rogue added stuff like icebergs you could shoot to create waves and that you could be boarded by enemy ships to mix things up.
I wasn't as bored of ship sailing in AC3 because in that game, ship sailing was relegated to a handful of missions rather than being part of the open world. It worked better as an occasional change of pace so its shallowness didn't bother me as much. And in Odyssey, everything was sped up and more streamlined. AC4's approach feels like that side activity in AC3 made better, sure, but not deep or varied enough to sustain 60% of the gameplay.
On top of that, AC4 shifts away from the urban based environments of past AC games. Most of the map is now ocean with the land being islands or small settlements. And I find these sections not as fun in AC games. Like, yes, you can parkour on trees and rocks and cliffs here, but these lack the options or freedom of parkouring in cities. Trees typically direct you in a linear path and you can't climb them entirely or make a custom path while climbing. You can't even side eject when scaling up the branches. Small port towns don't have the same architecture or variation as Havana or Kingston. This was an issue in AC Brotherhood's Rome where a good chunk of the Eastern section was flat countryside, and in most of AC3's Frontier but at least there, a good chunk of those games were set in their mostly urban sections. And this becomes the norm in Origins-Valhalla as the series moved away from large urban cities towards massive rural environments.
I suppose it does complement the pirate fantasy. Being able to sail anywhere, and leave your ship to explore a random uncharted island and finding treasure is cool. And some of the side missions such as the Smuggler Dens, Music Sheets, Warehouses, Treasure Maps, Assassination Contracts were fun and I enjoyed them. The Assassin's Creed formula and gameplay does lend itself well to a pirate game where your pirate has to explore jungles, cities, use stealth and flashy combat and climb stuff.
But it often felt like I was grasping for that fleeting AC formula in between the Pirate gameplay it was enabling.
To use an analogy, imagine if the next Spider-Man game had a place like Manhattan with skyscrapers so you could do all the web swinging Spider-Man was known for and you always enjoyed. But now lets say that 60% of that game was set in like, the countryside where there were no skyscrapers so no web swinging. And instead, it was GTA style gameplay where you used cars and guns to drive and complete missions. Even if this GTA style driving and shooting was cool and fun and made cooler by Spidey's powers, you'd rather this Spider-Man game be set in Manhattan so you could do stuff like Web Swinging instead of driving and shooting. Except most people really liked this aspect so now future Spider-Man games moved farther and farther away from cities and web swinging and more into the driving and shooting in the countryside.
AC4 is a good Assassin's Creed game when it chooses to be. I had a blast playing in Havana and Kingston. It's just that it's obligated to be a pirate game most of the time. One I don't really enjoy and am bored of. Which is odd because I imagine for many people, it's the other way around. Most people probably enjoyed the pirate stuff more than the Assassin stuff.
Onto more positive notes: The Story:
The story is also really good. I enjoyed it. A common criticism against AC4 is that "it's a good pirate game but a bad AC game". I remember listening to the game's developer diaries when the game first released that refuted that.
AC4's story is unique among the AC games because it's arguably the only AC game where the protagonist initially couldn't care less about the Assassins or their Creed, and actively opposes the Assassins, but then comes to see the value of it over the course of the adventure (the only other AC game that tries something similar is maybe Odyssey since there, as there are no official Assassins, Kassandara comes to a similar realization about the philosophy of the Assassins but on her own. But she doesn't oppose the philosophy tho). AC4 is arguably the first AC game that is about why someone who doesn't like the Assassins or their philosophy would come to see the value in the Assassins.
Like, if you look at AC4's predecessors, in AC1, Altair was born into the Assassin Order. The story does have the Templars question Altair's motives and Altair doesn't have the answers. But ultimately the story is still from a different angle there. In AC2, while Ezio was not born into an Assassin order and did enjoy a civilian life initially, he sort of.....goes along with the Assassins. He doesn't really question the tradition or push back against his teachers. The game also does a lot of timeskips so we don't see much of Ezio's Assassin education. In AC3, it's a similar setup. Connor joins the Assassins (consisting of literally one retired old dude) and is 100% on-board with their philosophy. To the point that even Haytham and co call him naive for this (and the story supports that).
In contrast, Edward starts the game with no knowledge on either the Assassins or the Templars or the Isu. He just wants money. He falls in with the Templars and impersonates the defector, Walpole, just for the payday. He continues to work with the Templars and double crosses them and the Assassins just for the money. Leading to him being marked an enemy of both of them. Edward is an outside observer to the conflict and the rhetoric of the sides. This creates a more interesting dynamic as characters like James Kidd and Adewale, who see Edward's potential, act like "angels on his shoulder" nudging him closer to the Assassins. Edward initially mocks them and the Assassins. Even jokingly saying stuff like "if nothing is true and everything is permitted, I guess I'm doing well then" only be chastised by Kidd. Saying "the words are in your mouth yet you do not understand their meaning".
The story explores this idea of freedom through the perspective of a selfish pirate. Edward and his peers set up their own independent pirate city in Nassau with the intention of living their own free life. Edward even uses this as a knock against the Assassins. Citing how his version of freedom is working out better. Of course, a city built on piracy isn't sustainable. Nassau eventually begins to fall from an accumulation of disease and the British Empire cracking down on piracy. Even offering a pardon for pirates that splits the founders of Nassau. On top of that, even Edward's peers admit that their future isn't bright. They had their chance to show the world they were legit with Nassau and, in their own words, pissed it away. Some of Edward's peers even side with the Templars. Unlike the Ezio games, AC4 actually does a good job in making the Templars look reasonable. Justifying why these pirates would join them. Remember, The Templars whole philosophy is that humanity isn't competent enough to govern themselves so needs to be "guided" from behind the scenes. They offer protection and purpose to many people. Governor Torres even tells his fellow Templars to stop engaging in slavery and aims to help in abolishing it.
All this ends up affecting Edward. Because, eventually, while he does become wealthy and gains the success he always wanted, it feels hollow because he's a wanted man and criminal whose peers died in pursuit of the same goal. And the people that didn't and had actually noble aspirations like Kidd were killed while he survived. This combination of guilt and introspection drives Edward into understanding more of the Assassin philosophy. That blind freedom, for its own sake with no plan and only violence, isn't worth it. That the Assassins preach a kind of "freedom with wisdom". While Edward doesn't become inducted into the Assassin Order as an "official Assassin", it doesn't matter because he still becomes a real Assassin as he comes to understand and support the Creed.
Also, I don't know where to fit this in but I like that the whole plot about the Observatory feels like an analogue for modern surveillance and tracking. Edward is absolutely horrified that it is possible for a person to be able to spy through the eyes of another person so easily. And once he becomes allied with the Assassins, wants the placed sealed so its power cannot be used by the Templars to control people in the world. The analogy Mary gives to describe the power the Observatory holds and why the Templars are the enemy here is "it's like a man with endless supply of water who refuses to share with others during a drought. He'd be a murderer with no blood on his hands" to which Edward agrees. Which is why he intends to help.
Which feels tragic given that is what happens in the Modern Day with Templars/Abstergo. That's often the bittersweet thing about the AC games. No matter the successes and things you accomplish the Animus, it's always for naught given we know what happens in the Modern Day. Nothing Edward accomplishes here matters. Either in the short term because we know what happens in AC Rogue with Shay helping the Templars take over. Or in the Long Term with Abstergo taking over the world.
Speaking of which, the Modern Day sections. AC4's Modern Day sections have been widely criticized by both non-AC fans and AC fans. It feels like an interruption to Edward's pirate gameplay. On top of that, it doesn't really progress the overall story forward. Mostly spinning its wheels and adding some cool details. Like, we know Juno is hanging around the internet but is disconnected from not only Edward's story but even the Modern Day one. And is only resolved in a side comic years later. The concept of the sages is really cool though but the future games barely follow up on it. It's gone after Unity.
But despite all that, I'm going to drop the second hottest take of this review. I'd argue this take on the Modern Day is actually pretty good.
I do agree the pacing and the actual story being told in it isn't particular exciting, but the appeal it has is a bit specific. One of my favourite parts of AC1 and 2's modern day wasn't playing as Desmond but rather hacking into computers or Subject 16's puzzles and peeling back the curtains to learn more about the world of AC.
Because AC is the only franchise that dares to ask the question: "what if every conspiracy theory ever throughout history and no matter how trivial or wacky was not only true but connected?"
In AC1, you could hack Warren Vidic's computer to learn that: "that Africa's population has been decimated by a plague; massive number of illegal immigrants are crossing the U.S.-Mexican border... into Mexico, resulting in a shooting war between the U.S. and Mexico; hurricane season no longer exists, since hurricanes happen all throughout the year thanks to climate change; and the last film studio has closed, as piracy has destroyed the movie industry". All this back in 2012.
In AC2 and Brotherhood, doing Subject 16's puzzles tells us that: Alan Turing was Murdered to prevent him from inventing too powerful computers. Cable TV is actually a method for transmitting brainwave altering signals and monitoring citizens. The Moon Landing was done to find an Isu artifact on the moon. The JFK assassination was done by an Assassin who defected to the Templars to recover JFK's POE. He uses his subordinates to kill JFK, stole JFK's POE, used said POE to create the illusion of gunshots and framed Templar Sleeper Agent, Harvey Lee Oswald for it. Which lead to the Templar Lyndon B. Johnson taking the presidency to accelerate the space program for that aforementioned moon landing. Or that Jesus Christ was someone who used Isu Artifacts and his crucifixion was spearheaded by the Templars.
Obviously this is quite unhinged and wacky and I am all here for it. I find this aspect of AC lore fascinating. Seeing how seemingly random historical events have some connection to either the Assassins, Templars or Isu is really interesting to me. And AC2 and Brotherhood in particular, I feel, nail this aspect well because of its presentation here. Subject 16's puzzles are presented in this really creepy and unnerving way. You have recorded phone calls from random civilians talking with Abstergo reps about how their cable TV has their private history storied on it. You have paintings that ask you find meaning in seemingly innocuous details. That photo of Napoleon putting his hand in his pocket? He has an Apple of Eden there. I remember back when AC Brotherhood first came out, I joked that we would eventually learn that BigFoot was actually real and was this Isu experiment gone wrong or something by the Templars to create an Isu. And after playing Odyssey, I think that might actually be true lol.
Part of this is to reinforce one of the themes of those early AC games. Of how skewed history can be and how difficult it can be to ascertain what really happened. And how the Templars are doing a really good job skewing and controlling history.
AC4's Modern Day......sorta keeps this up. I am a bit disappointed because I felt there would be more wacky, creepy and unhinged stuff here. Like, you're in Abstergo itself and can hack their computers. You're at the centre of all the wacky conspiracies, not receiving snippets from an insane computer backup of a dead guy in a USB stick. But while there is some stuff related to the Tunguska event, there's not much as wacky as JFK from Brotherhood.
But there is still some juicy stuff here I enjoyed reading. I loved all of Desmond's material. Seeing what happened to his body and DNA, and the contents of his phone and audio recordings. It retroactively makes AC3's modern day even more tragic given how Desmond was getting closer to his squad.
I loved reading emails from the higher ups at Abstergo. Stuff like cool potential ancestors from Desmond's DNA and shooting down why projects set in Ancient Egypt, WW2 or the Wild West wouldn't be good fits (and I agree with that lol). Oliver and Melanie joking about some of their work. Or one guy complaining that "we have the means to show history in its most accurate light through the Animus, and we are using it to make terrible and lowest common denominator movies and video games". Only for the truth to be that is intentional. Making terrible movies and Video games allows Abstergo to control pop culture and therefore people without them realizing it. Hell, that's what they plan to do with the footage you get from Edward's memories. And they do it. You can see a trailer for their terrible Pirate Movie with some of the "artistic liberties they wish to take". (and in Unity, you learn that movie bombed. So I guess humanity has some hope. Or perhaps the Assassins sabotaged the premiere?).
Another one of the standouts was Subject One. He was one of the first Animus test subjects and his experiences in the Animus exploring the life of Aveline de Grandpre was used 30 years after his death to create the hit video game Assassin's Creed 3 Liberation on the VITA. And the most unrealistic part of all of this is the fact that the VITA was a success in the AC Universe lol.
You can find material and recordings that explore some of his experiences and feelings. He notes that his centre of gravity is lower, and he can feel the eyes of everyone looking at "his" attractiveness as a female, and finds the roles society expects of a woman restricting. He is also really uncomfortable with attraction she has to men, and asserts that he is not gay but now has a hard time separating his sexual feelings from Aveline's. Someone get Mirror and Image to write a fanfic on this because I would kill to read this story.
You also have the "Market Analysis" videos where an Abstergo executive explains why they passed on making movies/video games on Altair, Ezio and Connor but gave the greenlight to Aveline. And I love how funny and biting this satire is on how executives meddle with and change projects to better appeal to a mass market and ignore the context of the games. He talks about how Ezio is a lecherous old man with anger issues and not a "model leading man" as he corrupts impressionable youth. Or how Altair is a fanatic who breaks the taboos of his time and how Abbas (the guy that literally corrupted the Assassin order, kills many of his own people) is a model leading man. He puts in a request to find any descendants of Abbas. Or how people would take umbrage with Connor's personality and find his early life "foreign" and how it lacks the "balance" to tell the whole story of America. And they approve Aveline because they can edit her footage to show her as a well behaved girl inspired by her mentor Madaline as an empowering piece for female audiences (ignoring that their editing does the opposite from Aveline's already existing story lol).
Like, even though walking around Abstergo Entertainment as a floating iPad and doing basic hacking puzzles isn't the most exciting thing, I found getting the lore from it enjoyable. I honestly wish there was even more juicy lore or more wacky revelations to spice it up.
I will complain however, that the overarching plot of Juno isn't something this modern day does very well. And part of that is because, I feel, the modern day of AC games isn't equipped to handle a story like that.
Hear me out here. But generally, one of the advantages of an AC's game structure is that it allows for there to be an overarching and looming threat/story/stakes across games without interfering with the historical aspects. Like in AC3, the world is going to end on December 21st 2012 from a Solar Flare. Desmond needs to explore Connor's memories to get the information needed to save the world. But at the same time, it's fine for the player to engage in side missions and goof off as Connor because it still adds synchronization to Desmond and points to leads that can help them in the future. And because this is a simulation, AC technically avoids the "Fallout 4 style the main character is supposed to save their family but instead goofs off with side missions" issue (which I don't agree is an issue but I digress) since we know what Connor actually did and you are playing a simulation of it through the Animus.
But this approach doesn't work well if there is a more pressing and urgent issue in the Modern Day that doesn't require the Animus as an immediate solution. Like, if AC4's Modern Day made Juno's threat the focus, well then it feels odd why you the player, instead of going after Juno, spend the next several weeks exploring the memories of a random pirate who had no connection to Juno. It kinda devalues Juno as a threat.
The Modern Day stories of AC games struggle at this time because without Desmond and some kind of specific threat or stake looming on the horizon, there's nothing for the story to focus on or build to. You now have these ancient God seemingly loose on the Internet, this Dr. Who style reincarnation whose DNA you now have, an observatory that can see through any person's eyes and this magical shroud that can bring back the dead that Jesus Christ himself used....... and none of it seems relevant or like its building to anything or even connects together. Not to say Desmond's stories were amazing (Brotherhood really made most of Desmond's story feel like filler. Revelations was mostly a retelling of lore we already knew etc). But there was at least some sense of progression. Something that appears to be happening again with Layla in the recent games.
In closing, a common complaint leveled against AC games is that a certain game is "a good x game but a bad AC game" or some variation of that. I disagree with that used against AC4 for the story. The story is arguably the best take on why someone would become an Assassin despite an initial reluctance. Its Modern Day even at least showcases some nice lore.
With the gameplay, it's harder to say. The Assassin gameplay that is there is still fun. Especially in large cities like Kingston and Havana. It also complements much of the pirate gameplay as, just like in the story, there is a lot of crossover between the abilities of a pirate and an Assassin. But much of that dedicated Assassin gameplay in towns is sparse. Leaving little of parkour and social stealth to shine.
Most people did enjoy this and the game is fun so I cannot call AC4 a bad game. But is one I won't be replaying too much.
Thanks for reading. My next post will probably be either on Shadow Fight 3 or Lego Batman 2 VITA's Platinum. See you then.
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